VINTAGE KEYS

Soundbank for the

YAMAHA
Motif/Motif ES/Motif Rack/S90

IInnttrroodduuccttiioonn

Thank you for purchasing the "Vintage Keys" soundbank for the Yamaha
Motif/Motif ES/Motif Rack/S90. This soundbank contains 128 voices and 1
new user arpeggio which is required for use with one of the voices.
The soundbank is divided into two groups of 64 voices each. The first group
(A1 to D16) consists of electric pianos, clavinets and other keyboard sounds
which are similar. The second group (E1 to H16) consists of classic
synthesizer sounds. By "vintage", we refer to keyboards and synthesizers
built before the arrival of the Korg M1, which can probably be defined as the
first of the modern sample-playback workstations in use today.
It would be impossible to include emulations of every electric keyboard or
synth ever built. For that reason, this collection largely contains emulations
of what could more or less be considered the "greatest hits" of vintage keys the Rhodes and Wurlitzer electric pianos, the Hohner clavinet, and the Moog
mini-moog, Sequential Prophet, Oberheim and Roland Jupiter synthesizers.
There are a number of voices which are emulations of the hallmark keyboard
or synth sounds for particular classic songs, such as Van Halen's "Jump",
Edgar Winter Group's "Frankenstein", Emerson Lake and Palmer's
"Welcome Back My Friends (actually the song's title was "Karn Evil 9 First
Impression Part 2"), the Who's "Baba O'Riley" and "Won't Get Fooled
Again", and so on. Again, there simply wasn't room to include every
emulation for every synth sound that ever appeared on a hit recording. This
is where the Performance mode comes in handy - any voice can be altered in
Performance mode (for example, changing the filter cutoff or resonance, or
the attack time or release) thus creating, in effect, up to 128 additional
keyboard or synth sounds as the user so desires.

LOADING THE VOICES

MOTIF CLASSIC USERS
If you downloaded the soundbank onto your computer , you received a Zip file
containing folder marked "VINTAGE KEYS DATA FILES." Open that folder, select and
open the "VINTAGE KEYS MOTIF CLSSC" folder. You will see the following subfolders:
A folder marked "VINTAGE CLSC ALL FILES".
A folder marked "VINTAGE CLSC EDITOR FILES".
A folder marked "VINTAGE ARP FILES".
The "ALL FILES" folder contains TWO files, each with an "A" as the last character in
the name. Motif needs BOTH of these files loaded onto SmartMedia card.
The "EDITOR FILES" contains the files which can be opened using the computer editor,
on the CD-ROM which is packaged with your instrument.
The "ARP FILES" folder contains the file with the User Arpeggio which is necessary to
make the "Pink Floyd 1" voice function properly. If you do not load your Vintage keys
voices as an ALL File, but instead try loading in single voices one a time, you will not
load the User Arp that belongs with the Pink Floyd 1 voice. The "VINTARP" files are
there for backup in case you need to reload them.
If you load your Vintage keys bank as an All file (recommended), then you do NOT need
to load the "VINTARP" files.
1 .Assuming you have a SmartMedia card reader attached to your computer,
insert a Motif-formatted SM card into the reader.
2. When the SM icon appears,
drag the files marked VINTGCL.W2A and VINTGCL.W3A onto the icon, when
the writing process is finished, properly remove the card and insert it in Motif's
SM card slot.
3 .On Motif, press FILE>F1 CONFIG>set CURRENT to CARD)
4. Then press F3 LOAD>set TYPE to "All">highlight the file name VINTGCL.W2A
and press ENTER. The file will load to the User voicebank.
5. Press USER bank button, then A1 to begin.
If you received the soundbank pre-loaded on a SmartMedia card, simply follow steps
3,4,and 5 above.

VINTAGE CLSC EDITOR FILES folder:

VINTGCL.W2E
VINTGCL.W3E
Follow instructions for installing the Editor on your computer, from the included
"tools" CD that was packaged with your Motif.
Open the Editor> select OPEN from the File Menu. Navigate to the VINTAGE
CLSC EDITOR FILES folder, open that folder, and select VINTGCL.W2E. When
the file loads in, select "User," the list of Vintage Keys voices will appear. Click
on any single voice to send it to Motif for auditioning, or select all 64 voices and
go to the MIDI drop down menu, then select TRANSMIT". A dialog box will
open up, set "transmit type" to"User". All 64 voices will be sent to your Motif.
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MOTIF ES USERS
If you downloaded the soundbank onto your computer , you received a Zip file
containing folder marked "VINTAGE KEYS DATA FILES." Open that folder, select and
open the "VINTAGE KEYS MOTIF ES" folder. You will see the following sub-folders:
A folder marked "VINTAGE ES ALL FILES".
A folder marked "VINTAGE ES EDITOR FILES".
A folder marked "VINTAGE ARP FILES".
The "ALL FILES" folder contains TWO files, each with an "A" as the last character in
the name. Motif ES needs BOTH of these files loaded onto SmartMedia card (or other
USB media, if you are using an external USB device attached to the ES' USB Device
port).
The "EDITOR FILES" contains the files which can be opened using the computer editor,
on the CD-ROM which is packaged with your instrument.

The "ARP FILES" folder contains the file with the User Arpeggio which is necessary to
make the "Pink Floyd 1" voice function properly. If you do not load your Vintage Keys
voices as an ALL File, but instead try loading in single voices one a time, you will not
load the User Arp that belongs with the Pink Floyd 1 voice. The "VINTARP" files are
there for backup in case you need to reload them.
If you load your Vintage keys bank as an All file (recommended), then you do NOT need
to load the "VINTARP" files.
1 .Assuming you have a SmartMedia card reader attached to your computer,
insert a Motif-formatted SM card into the reader.
2. When the SM icon appears,
drag the files marked VINTGES.W7A and VINTGES.W8A onto the icon, when
the writing process is finished, properly remove the card and insert it in Motif's
SM card slot.
3 .On Motif, press FILE>F1 CONFIG>set CURRENT to CARD)
4. Then press F3 LOAD>set TYPE to "All">highlight the file name
VINTGES.W7A
and press ENTER. The file will load to the USER 2 voicebank.
5. Press USER 2 bank button, then A1 to begin.
If you received the soundbank pre-loaded on a SmartMedia card, simply follow steps
3,4,and 5 above.
VINTAGE ES EDITOR FILES folder:
VINTGES.W7E
VINTGES.W8E
Follow instructions for installing the Editor on your computer, from the included
"tools" CD that was packaged with your Motif.
Open the Editor> select OPEN from the File Menu. Navigate to the VINTAGE ES
EDITOR FILES folder, open that folder, and select VINTGCL.W2E. When the file
loads in, select "User 2," the list of Vintage Keys voices will appear. Click on any
single voice to send it to Motif for auditioning, or select all 64 voices and go to the
MIDI drop down menu, then select TRANSMIT". A dialog box will open up, set
"transmit type" to"User 2". All 64 voices will be sent to your Motif ES.

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S90 USERS
If you downloaded the soundbank onto your computer , you received a Zip file
containing folder marked "VINTAGE KEYS DATA FILES." Open that folder, select and
open the "VINTAGE KEYS S90" folder. You will see the following sub-folders:
A folder marked "VINTAGE S90 ALL FILES".
A folder marked "VINTAGE S90 EDITOR FILES".
A folder marked "VINTAGE ARP FILES".
1 .Assuming you have a SmartMedia card reader attached to your computer,
insert a Motif-formatted SM card into the reader.
2. When the SM icon appears,
drag the files marked VINTGS90.W4A and VINTGS90.W5A onto the icon, when
the writing process is finished, properly remove the card and insert it in S90's SM
card slot.
3 .On S90, pressCARD)
4. Then press F3 LOAD>set TYPE to "All">highlight the file name
VINTGS90.W4A
and press ENTER. The file will load to the User voicebank.
5. Press USER bank button, then A1 to begin.
If you received the soundbank pre-loaded on a SmartMedia card, simply follow steps
3,4,and 5 above.
VINTAGE S90 EDITOR FILES folder:
VINTGS90.W4E
VINTGS90.W5E

Follow instructions for installing the Editor on your computer, from the included
"tools" CD that was packaged with your Motif.
Open the Editor> select OPEN from the File Menu. Navigate to the VINTAGE
S90 EDITOR FILES folder, open that folder, and select VINTGS90.W4E. When
the file loads in, select "User," the list of Vintage Keys voices will appear. Click
on any single voice to send it to S90 for auditioning, or select all 64 voices and
go to the MIDI drop down menu, then select TRANSMIT". A dialog box will
open up, set "transmit type" to"User". All 64 voices will be sent to your S90.
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Motif Rack users

If you downloaded the soundbank onto your computer , you received a Zip file
containing folder marked "VINTAGE KEYS DATA FILES." Open that folder, select and
open the "VINTAGE KEYS MOTIF RACK" folder. You will see the following subfolders:
A folder marked "VINTAGE RACK EDITOR FILES".
VINTAGE RACK EDITOR FILES folder:
VINTGRAK.W2E
VINTGRAK.W3E
Follow instructions for installing the Editor on your computer, from the included
"tools" CD that was packaged with your Motif.
Open the Editor> select OPEN from the File Menu. Navigate to the VINTAGE
RACK EDITOR FILES folder, open that folder, and select VINTGRAK.W2E.
When the file loads in, select "User," the list of Vintage Keys voices will appear.
Click on any single voice to send it to Motif Rack for auditioning, or select all 64
voices and go to the MIDI drop down menu, then select TRANSMIT". A dialog
box will open up, set "transmit type" to"User". All 64 voices will be sent to your
Motif Rack.

As previously stated, the voices are divided into two groups of 64 each,
explained in all the sordid details below.
(Many thanks to Julian Colbeck of Keyfax, whose "Keyfax
Omnibus Collection" was a tremendous source of information about all the
vintage keyboards and synths).

GROUP 1 - electric pianos, clavinets, and related sounds.

Rhodes electric pianos A1 thru B16.
The most popular electric piano of all time and still cherished and used in music today,
the Rhodes was invented by one Harold Rhodes, who had the idea for building an electromechanical piano using spun metal rods, or "tines" struck by hammers (you might think
of a tine as a cousin to the tuning fork). Harold's first Rhodes piano was the 32-note
PianoBass, used by notables such as Ray Manzarek of the Doors for his bass sounds. In
1965 the design for the PianoBass was modified and enlarged to create an 88-key piano,
complete with amplification and speaker enclosure. Thus began a line of Rhodes electric
pianos, manufactured until 1984.
Rhodes pianos (also referred to as Fender Rhodes as they were marketed by the Fender
company for quite a number of years) were a lot like people - each one had its own
character. Some were tempermental, some sounded beautifully chime-like, others
sounded more harsh and squawky like an electric guitar, and many sounded just plain
bad. And so presented here are 32 Rhodes pianos, ranging from the good (most of them)
to the bad to the ugly.
On all the Rhodes piano voices, the mod wheel usually controls vibrato/tremolo, and
assignable knobs one and two control brightness and/or tremolo speed.
A1 - Suitcase 1 Modeled after a 1965 Suitcase 88. Called the Suitcase because it consisted as two
"suitcases" - a piano section with a detachable lid and a curved black plastic top, and an
amplified speaker section, same length and depth as the piano section which fitted on top
of the speaker cabinet. A metal rod connected the keyboard to the sustain pedal which
was housed in the speaker cabinet.
At this time the tremolo circuit for the amp/speaker was mono, not stereo, and felt
hammer tips were used which gave the piano its characteristic softer, more bell-like tone.

A2 - Suitcase 2 Modeled after a 1969 Suitcase 73, with a stereo tremolo circuit.
A3 - Babe Modeled after the Rhodes sound on the Styx hit "Babe". That Rhodes had a "DynoMy-Piano" modification - Chuck Monte of Los Angeles retrofitted Rhodes pianos with a
tri-stereo chorus and active equalization controls. The tines were also moved closer to the
hammers, and all this resulted in a crystalline/metallic chorused tonal quality.
A4 - Stage 73 Probably the most popular model of Rhodes piano. The Stage series were identical to
the Suitcase models, except they didn't come with a speaker cabinet. Instead the piano
rested on four tubular metal legs which screwed into the bottom of the piano. This is a
model of a Stage 73 with the Neoprene hammers which replaced the earlier felt ones,
resulting in a harder more aggressive sound with a bit less bottom end and more
midrange tone.
A5 - Stereophaz Modeled after a Stage 73 run through a phaser pedal.
A6 - Transistr1 You could say this piano sounds bad, and you'd be right. You could say it sounds cool
and you'd also be right. I actually had a Rhodes Stage 73 that sounded just like this - there
was something rather strange going on with the pre-amp which caused the piano to sound
distorted and brash no matter what the loudness was. It was "bitchin' cool" in its own
metallic weird way as well, depending on how you looked at the situation.
A7 - Transistr2 Variation on the same theme - a Stage 73 with pre-amp distortion.
A8 - Transistr 3 And yet another Stage 73 with cool/terrible pre-amp distortion of a different color.
Notice the uneven timbre and loudness response in the upper octaves - ah, the memories.
A9 - RhodesComp Rhodes Suitcase 73, circa 1975, fed through a compressor unit. You can hear this kind
of sound on Chick Corea/Return to Forever's album "Where Have I Known You Before".
A10 - FeltHammrz Suitcase 73 with felt hammers and very soft bell-like tone.
A11 - Neoprene Modeled after a 1976 Suitcase piano with Neoprene (hard rubber) hammers.

A12 - Sunshine The famous Rhodes sound from Stevie Wonder's "You re the Sunshine Of My Life"
hit song. Warmer, darker Suitcase piano sound with stereo tremolo engaged.
A13 - Mutron Classic sound of a Rhodes through a Mutron Bi-Phase pedal.
A14 - SuitcsSpkr Rhodes suitcase piano with a noisy amp/speaker system.
A15 - Rhodz Bass This was Harold Rhodes first commercial creation - the 32-note PianoBass. Used by
keyboardists for playing - what else - left hand bass lines. Since it only had 32 notes, this
voice is zoned so the main 32 notes fall in the correct range - E1 to E4. Additional bass
sounds are on either side of that range.
A16 - Lacquered Some folks would do anything to get more brightness out of their Rhodes pianos,
including lacquering the rubber tips, which resulted in a tone like this - thinner,
percussive, and very very bright.
B1 - Dayride Modeled after the sound of Chick Corea's Rhodes on the song "Dayride" from return
to Forever's album No Mystery. Highly compressed, bright, thin and metallic.
B2 - Distortd 1 Rhodes through a distortion pedal - a la Corea's sound on some of the cuts like
"Captain Senor Mouse" and "The Game Maker" from Return to Forever's Hymn To The
Seventh Galaxy.
B3 - Distortd 2 Variation on Voice B2
B4 - Distortd 3 Another variation on the same theme.
B5 - FeltHamrz2 Another soft bell-like Rhodes tone.
B6 - 80'sSession There's a story that back in the early 80's, the best Rhodes to rent for a particularly
heavy session was one owned by Leeds Rentals in L.A., referred to as the "Stage Model
E" piano. Solid and bright, it usually was run through a chorus pedal and eq'd even
brighter at the mixing console. This voice was modeled with that Rhodes in mind - that
classic 80's electric piano sound.

B7 - Amp Noise Stage 73 Rhodes fed through a noisy small combo amp. Perfect for rap and hip-hop.
B8 - Filtered Rhodes through an external envelope filter, giving it that "nasal" quality for funkin'.
B9 - Bad Ground Okay, this one is like a blind date gone wrong. Rhodes with a noisy amp/speaker and
a bad electrical ground to boot - which sometimes happened. As said before, not all
Rhodes pianos were pretty.
B10 - Led Song That swirling moody sound you heard John Paul Jones wring from his Rhodes in the
Led Zeppelin concert film The Song Remains The Same.
B11 - Nosy Tine Anther thinner, more nasal Rhodes piano tone.
B12 - ClassicWah Rhodes through a wah-wah pedal.
B13 - Mark 2 Although production standards got better and the Rhodes pianos generally got more
reliable as the years went on, there isn't any truth to the rumor that the Rhodes Mark 2
sounded different than the Mark 1. The difference was the top of the piano - with the
Mark 2, it was redesigned to be flat, so you could put another keyboard (or two) on top of
it. The classic combo was a Rhodes and a Minimoog synth, or a Rhodes with a Clavinet
on top of it and the minimoog on top of the clav. But it seemed necessary to include a
Mark 2 in our Rhodes lineup - this one was a Stage 73. And in keeping with historical
accuracy, this one sounds different than the rest of our Rhodes pianos.
B14 - Compressd2 Another Fender Rhodes Stage piano through a compressor.
B15 - Stage 73 2 Another Rhodes Stage 73 with a unique character.
B16 - No AC Since the Rhodes was mechanical as well as electronic, it could still produce a little
bit of sound even when the power went out or someone accidentally tripped over the
piano's AC cord.
To hear the sound of the Rhodes unplugged in all its glory, you had to go one step further
and pull the lid off, revealing the harp assembly. One also did this if the Rhodes needed
tuning (which you did by physically repositioning the individual tines). Naturally, you
hoped the power was off when you decided to do a tuning job on your Rhodes.

Wurlitzer electric pianos - C1 thru C7.

The moniker "Mighty Wurlitzer" referred to the huge theatre organs the Wurlitzer
Company built in the first third of the twentieth century. But one could argue that the
little Wurlitzer electric piano was a bit of a scrappy contender in music as well, having
fueled hits by Supertramp, Queen, Rod Stewart and the Faces, and many others in the late
60's, 70's and 80's. Later in the 90's, artists like Lenny Kravitz and Jellyfish also
employed the retro sound of the Wurlitzer.
Though not as popular (and certainly not as well-built) as the Rhodes pianos, Wurlitzers
maintained a special charm and possessed a unique, clarinet-like tone and a wobbly
tremolo, controlled by a push-pull switch which you turned to increase or decrease the
tremolo speed. They were quite a bit lighter and easier to move than the Rhodes as well.
And best of all, the later models came in different colors!
C1 - VintgWurly Classic Wurlitzer tone with a bit of compression and equalization.
C2 - Wurly 100 Early model Wurlitzer piano with a tube amplifier and oval speaker.
C3 - BestFriend Modeled after the unique sound from Queen's mega-hit "You're My Best Friend" (A
Night At The Opera album). There's argument as to whether it was actually a Rhodes
piano used on the recording, but close listening reveals what is unmistakably Wurlitzer.
Curiously, producer Roy Thomas Baker split the piano sound so that the lowest notes (the
song is in the key of C) are panned hard left and the body of the piano sound is panned
slightly off to the right. As the Wurlitzer wasn't a stereo instrument, one can only
conclude that Baker tracked the left and right hand parts separately.
C4 - Faces
Modeled after the heavily overdriven Wurly sound from the Rod Stewart/Faces hit
"I'm Losing You".
C5 - 200A More "scooped" sound of the Wurlitzer model 200A, later in the line.
C6 - Paisely "Psychedelic" Wurlitzer sound. And you'd have to be trippin' indeed to have heard
this from an original Wurly's mono audio output.
C7 - WurlyPhase
Another Wurlitzer with a bit of studio trickery involving stereo phasing.

Hohner keyboards - C8 thru C16.

Hohner, an old German musical instrument company which sold a lot of harmonicas,
dreamed up their electric keyboards in response to requests for something like a
harpsicord that was portable and easy to maintain. Well, they got the portable part sort of
right and did a little better than that on the maintenance end. But the sound of their
clavinet became THE staple sound for funk and disco in the 70's, and continues to make
its presence felt today in everything from rock to country to r&b to rap and hip-hop. Or at
least synthesizer patches that sound like it carry on the torch. I've met some musicians
who thought "clavinet" was the name of a synth patch and wasn't a real
instrument.that's how prevalent the sound is on everything from megabuck synth
workstations to home digital pianos.
C8 - Pianet What better way to start off a collection of Hohner sounds than with the sound of
something other than the clavinet - like the pianet? Sounding like a cross between an
anemic Wurlitzer and a ukulele, the Pianet nevertheless found its way onto recordings by
superstar acts like Fleetwood Mac and others. I happened to own one at one time, and
was recently reminded by Mr. Julian Colbeck in his book Keyfax Omnibus Edition that
the pianet didn't require a power cord - which was true. You plugged it into a pre-amp
and it drew its power through the connecting plug - truly genius! It had no sustain pedal,
and the keyboard had a curious sticky action - almost like some sort of delay occurred
between the time you depressed a key and the time you heard a note sound.
C9 - ClavinetD6
Although Hohner marketed other models of Clavinet, and the D6 wasn't the first, it
was truly the model that everyone refers to when speaking of the "clavinet sound".
The D6 was wooden, more or less rectangular and boxy, and despite its seemingly
smaller size it weighed what felt like a ton.
When a key on a clavinet is depressed, a plunger underneath touches what is
essentially a guitar string and presses it onto an anvil. Depending on velocity, the string
changes tone and dynamics. When the key is released, contact between the plunger and
anvil is broken, and the string's vibration is muted. The clavinet has a simple damper
mechanism operated by a lever (not a foot pedal) which allows the player to let notes ring
or remain muted. For the most part, this means that less than superstar clav jockeys end
up playing parts that don't bother with the damper mechanism. To make a long story
short, try NOT using the sustain pedal for your authentic clavinet-ness.
C10 - Wonderclav Yes, it's the clavinet sound from Stevie Wonder's "Superstition" - probably the song that
defined the use of the clav in pop music.

C11 - Stickyclav
Clavinet with a little more of that sticky "pull" sound so characteristic of it. Use Motif's
or S90's second slider to add more of the sticky effect.
C12 - Wah Clavi Clavinet through a wah-wah pedal - a classic funk sound.
C13 - Amp Clav 1 Clavinet through a guitar amp on overdrive.
C14 - Amp Clav 2
Overdriven, amped clavinet sound.
C15 - Amp Clav 3 Clavinet through a different guitar amp.
C16 - Amp Clav 4 Clavinet through amp with slight overdrive.

Yamaha keyboards D1 thru D9

With groundbreaking FM instruments like the GS1 and GS2, its mega-selling DX series
of synths and its innovative CP electric grand pianos, Yamaha easily lived up to the claim
made by one of its DX7 wall posters, which promoted the DX7 as being just as
significant an invention as the light bulb. Many companies claim to have products in
development for a significant time before they come to market, but in Yamaha's case
development was (and continues to be) years ahead of a product's actual release.
Sometimes as many as ten years.
A very astute young Yamaha engineer by the name of Mr. Ichimura
was dispatched to Stanford University in 1971 to observe a form of synthesis invented by
electronic music teacher John Chowning. Chowning's associates had convinced him that
his synthesis method, called FM (Frequency Modulation) might be of interest to organ
companies. Chowning had approached several other organ manufacturers, none of whom
were either interested or even understood what it was. Mr. Ichimura understood, and the
result was that Yamaha took a ten-year license out on FM technology. The first
commercial FM product was the GS1, released in 1982. Its asking price was $16,000.
Soon after that there followed the GS2 which retailed for about half that, and then
followed the DX7, and the rest is history, as they say

D1 - DX7 Classc "That DX7 Rhodes sound". You've heard it, everyone's heard it - so why not hear it
again here. This sound found its way onto about a bazillion records in the 80's, and
continues to be heard today (although people try disguising it a bit with software plug-ins
and other types of sonic mangling).
D2 - DX 2 Another DX electric piano type sound. Similar to the timbre heard on the Motels' 80's
hit "Only The Lonely".
D3 - DX3 Flutey "tine piano" sound.
D4 - GS Tines 2
Similar to the GS1 Tines sound (which I also programmed) on the original Motif
factory set. This one has more metallic ring and overtones to it.
You might ask why this particular sound and instrument. And I'll tell you even if you
don't want to know. I saw my first GS1 and GS2 (yes, both) in a little music store in
Apple Valey, California in the late summer of 1982. I hadn't heard FM before - and the
sound coming from these keyboards was nothing short of a spiritual experience. Judging
from their price tags, I imagined the store wouldn't be selling them anytime soon, and
since the cover band I was in had a month long stint at the nearby bar, I knew where I
was going to be spending my free afternoons. I probably wrote twenty songs on both of
those keyboards, and it was a sad day when we had to head back to L.A.
D5 - DX 4
DX7 sound, cross between an organ and electric piano.
D6 - DX Synthy
When the DX7 tried to sound "analog", it fell pretty far short of that goal. However,
the sound wasn't uninteresting or useless - this is a typical DX7 "synth" style sound,
particularly good for reggae of all things.
D7 - DX Wireclv Metallic, wirey sound similar to the one from the old 80's John Parr hit "Naughty
Naughty".
D8 - CP80
When I first moved to L.A. in 1979, I had a Hammond B3, two minimoogs, an Elka
string machine, and a Baldwin electro-piano in tow. I thought I had my ticket as a top
session player all written out. Then I went to the Starwood club one night and saw the
keyboard player from John Q. Public (that was the band's name) hammering away at a
Yamaha CP80 with a Sequential Circuits Prophet 5 synth on top of it. That was the L.A.
keyboard rig at the time. I sold everything I had and still couldn't come up with enough
money for the CP80, let alone both it and the Prophet 5.

The thing about the CP80 was, it felt like a real piano, because it pretty much was.
Hammers, 88 keys, strings, metal harp. And it looked cool. And you could amplify it, you
didnt have to mic it. The lowest notes had this weird almost non-pitched sound to them,
and the highest notes sounded more like a Rhodes in a way, but it didn't matter. The
CP80 was cool. It also went out of tune, though not as often as a real piano did, and it
wasn't the lightest thing to move. But if you owned one in L.A. in the early 80's, you
were the business, and that was that.
D9 - CP80flange
CP80 through an MXR rack mount flanger (the blue-plated one).
D10 - CP80 Phazd
CP80 with phaser effect.
D11 - CP80chorus
CP80 with chorus effect.

Various classic keyboards - D12 thru D16

D12 - RMI You might not know what it was, but chances are you've heard an RMI more than a
few times. Rick Wakeman used an RMI extensively, especially on hits like "Long
Distance Runaround". Edgar Winter (of "Frankenstein" fame) played one. And although I
don't know for sure, I'd swear that's an RMI on its harpsicord setting that I hear Keith
Emerson using on a few early ELP tunes.
And yours truly also owned - er, borrowed for a prolonged period of time - an RMI.
RMI stood for Rocky Mount Instruments (not Rocky Mountain Instruments as some
people think). It was covered in blue tolex vinyl, it stood on four spindly chrome legs. It
had rocker switches which controlled various voice settings, but overall it always
sounded about the same - like a raspy harpsicord/Farfisa organ but with slightly more
bottom end.
D13 - VoxOrgan 1
Cheezy Vox Jaguar combo organ sound. Great for the theme from "Austin Powers".
A classic 60's organ sound.
D14 - VoxOrgan2
Vox Jaguar with vibrato on, run through a home stereo hi-fi amp.
D15 - ElctrHrpsi
Roger Manning, now of the Moog Cookbook and formerly the brilliance behind the
90's band Jellyfish, is one of the few people who knows what a Baldwin Electric
Harpsicord was. I saw one at a music store in Boulder, Colorado, in 1971. That's how I
know.

The Baldwin Electric Harpsicord actually was quite beautiful - metal piano-shaped
casing, with a clear plexiglass top. And it sounded great, both unplugged and plugged in.
The Baldwin Company went on to produce the Baldwin Electro Piano, which was a small
portable piano with a real harp assembly, designed for teaching music. Both instruments
are now sadly long gone and very hard to find.
D16 - Toy Piano (Toy Piano 2 on Motif ES)
You could call the Schoenhutt Toy Grand Piano - which is what this sound is modeled
after - the "ultimate vintage keyboard". In a depressing twist of fate where technology has
made things worse, the wonderful sounding mechanical toy pianos of old have been
replaced by electronic ones, all of which sport dozens of bells and whistles, digital
readouts, and simply awful tone. If you're lucky, you can find a mechanical toy piano in
good condition on eBay for around $100 to $500, although I've seen some collector's
items that were fetching as much as $2500.
Motif ES users - this voice on the Motif ES is called "Toy Piano 2" to distinguish it from
"Toy Piano" (preset 1, voice F10).

GROUP 2 - classic analog synthesizers.

NOTE:
The analog synth patches in this soundbank utilize a proprietary programming
method which imitates the natural and slightly random pitch "drift" of real analog
oscillators. For example, on Voice E2, "Mini Lead2", hold a note and listen, you
will hear the pitches drift slowly and randomly between the two oscillators.

Moog mini-moog - E1 thru E9

E1 - Mini Lead1
One can refer to the Yamaha Motif, The Korg Triton, or the Roland Fantom as
synthesizers - and technically they are, because they offer ways to manipulate and create
sounds electronically. But when old school playas like me think of synths, we usually
think of the analog kind. The vintage kind. The wood panel and knobs kind. And no
synth exemplifies that more than the Moog minimoog.

Bob Moog (it's pronounced "mohg", or "mogue", if you will, not "moog" like in "moocow") started out as a young man building theramin kits as a paid hobby. Graduating to
more serious electronic musical instruments, he moved on to build quite large (some say
monstrous) modular synthesizers which looked like big telephone patchboards, connected
up to dozens of wires and controlled by detachable keyboard controllers.
This was in the late 60's and Bob was making a comfortable living doing it. Among
his clients was composer Wendy Carlos (at the time she was Walter Carlos - you do the
math). Carlos used the Moog synthesizer to record one of the first commercially
successful electronic albums, Switched On Bach. "Synthesizer" became a household
word, and eventually Bob met up with a very young musician named Keith Emerson,
with whom he worked to design a portable version of his huge modular synth. Out of this
collaboration the Moog Minimoog was born. And it was a beautiful baby, not only to
play but also, quite frankly, to look at.
The Minimoog sported a 44-note keyboard, three oscillators, a filter section and an
amplifier section, and knobs and switches to control it all. The bulk of the knobs and
switches were on a hinged panel which could be propped up at an angle above the
keyboard (the whole thing was self-contained, you could fold the panel back down and
put the Minimoog in a small suitcase). Directly to the left were two modulation wheels,
an innovation at the time which later became standard on synths. In addition to the
wheels were switches which turned on release (so notes could ring out, like using a
sustain pedal) and an off-on switch enabling the "glide" (or what we now call
portamento). A separate panel knob controlled portamento time.
It was all very functional, ergonomic and incredibly easy to use. And the tone was
awesome. Fat, thick, shimmering, aggressive, pure, all of these and more. You could add
noise, and the third oscillator could also function in low-frequency mode modulating the
first two, so you could produce ring-modulation style effects.
Keith Emerson even took to pitching knives at his Minimoog as part of his wild
onstage act. Personally, I couldn't afford to do that to my Minimoogs. But they kept me
gigging as I was one of the few musicians in my town at the time who had any
synthesizers at all, let alone knowing how to use them.
The downside? Well, Minimoogs didn't stay in tune very well. In fact it was
customary to arrive at least an hour and a half early to the gig to turn the unit on and let it
warm up to stability. And they weren't programmable, a feature which Bob Moog has had
the fortune to introduce on his new Minimoog Voyager released this year. One could
almost never get the exact same sound one had the night before.

Although polyphonic synths like the Prophet, and later sample playback keyboards
like the M1, almost killed off the Minimoog, it did survive in studios, long after
production ceased in 1982, due to the constant demand for the bass tone you could
produce with it. "Minimoog bass" became a staple of funk, techno, electronic and dance
music. The sound never really went away, ever. In its heyday, EVERY heavy group,
from Styx to REO Speedwagon to Rush to Pink Floyd to Yes and countless others, used
the Minimoog.
This sound is the classic Minimoog open filter sawtooth sound, one oscilator. As with
all the moog sounds in this soundbank, assignable knob 1 controls portamento time, and
knob 2 controls release, imitating what the controls on the real Mini did. And yes, pitch
bend range is set to a fifth, as it was on the original.
E2 - Mini Lead2
Open filter sawtooth lead sound using two oscillators tuned slightly apart. Used by
REO Speedwagon on their hit "Ridin' The Storm Out", as well as by Rush on "Tom
Sawyer". And many many other tunes by artists in every genre of pop music. Easy to
produce on the mini, and it sounded great.
E3 - Mini Lead3 Classic open-saw triple oscillator Minimoog sound, "tuned to a fifth".
E4 - LuckyManLd Minimoog lead sound from Emerson, Lake and Palmer's first hit, "Lucky Man". (Hint:
The song is in the key of D).
E5 - Stix Moog
Minimoog sound from Styx's hit "Fooling Yourself". Also used by Rick Wakeman on
Yes' song "And You And I" (Close To The Edge).
E6 - Mini Lead4
"Tuned to a fifth" mini lead sound with different waveforms used.
E7 - Mini Lead5 Open minimoog oscillators tuned an octave apart.
E8 - Mini Lead6 Heavily detuned mini lead sound, like the one Jan Hammer used on the tune
"Celestial Terrestrial Commuters" on Mahavishnu Orchestra's album Birds of Fire.
E9 - Mini Lead7
Minimoog lead sound employing triangle and saw waveforms and open resonant
filter.

E10 - Mini Lead8

Triangle wave Minimoog lead sound. Similar to the one used by Keith Emerson on
the ELP Trilogy album.
E11 - Mini Ld 9
Mini moog single oscillator lead sound with "reedy" quality.

ARP and Korg sounds - D12 thru D16

E12 - ARP Lead 1
Pity the poor ARP Odyssey. It always ran a distant second to the minimoog, both in
terms of looks and,some would argue, sound. As Julian Colbeck states in his book Keyfax
Omnibus Collection, ARP always had to do things a little differently. The Moog had
knobs, the ARP had sliders. The Moog had a pitch wheel, the ARP had a pitch knob.
Well we should say, the ARP Odyssey had these features. Because many hit records
saw the use of the ARP 2600, which was the modular, bigger brother to the Odyssey.
Patch chords, telephone switchboard to plug them into, modulating anything with
anything - that was the ARP 2600's game. Giant bubbling, burbling swooshing space
sounds were its forte. The skinny little lead sounds like those Chick Corea used on the
Return to Forever records - those were all ARP Odyssey.
You might call this particular voice a cousin of "Mini Lead2". It's the ARP version of
the same idea - detuned oscillators in unison. Add a little grittier edge to it (thanks to the
ARP's more aggressive filters), and you have ARP founder Alan R. Pearlman's idea of
what a lead synth should sound like.
E13 - ARP Lead 2
Trumpet-like ARP lead sound.
E14 - ARP Lead 3
Squaresaw-wave lead sound with extra resonance.
E15 - ARP Lead 4
Nasal thin lead sound.
E16 - ARP Lead 5
Another lead sound one might describe as being like a "squeezed trumpet".

F1 - MiniKorg
For those who couldn't afford a Minimoog, Korg released their first synth in 1973, the
MiniKorg. It was dual-oscillator, with a pair of sliders that controlled filter cutoff and
resonance (they dubbed this the "Traveller" section), a slider controlling vibrato, and a
curious switch called "brilliance" which either added extra filter resonance or switched
the filter to a steeper slope, I'm not sure which. Price? $1000 in 1973, which was still a
lot of money for the time.

Minimoog and TB303 Bass - F2 thru F8.

F2 - Mini Bass 1 The classic Minimoog bass sound, like you might have heard on a Stevie Wonder
record in the 70's or on the dance floor in the 80's, as well as today.
F3 - MiniBass 2 Mini Bass sound that levels off at a slightly brighter tone, more aggressive attack.
F4 - MiniBass 3Darker, more detuned mini bass sound.
F5 - MiniBass 4 Punchy mini bass sound. Great for dance tracks.
F6 - Mini Bass 5
Classic "Ow" Mini bass sound, revived on No Doubt's "Hellagood" track from their
Rock Steady CD.
F7 - TaurusPedl
Question - how was Rush's Geddy Lee able to sing and play keyboards AND bass at
the same time live? Answer - he used (at least in the 70's and early 80's) a set of Bass
pedals marketed by Moog. The Moog Taurus bass pedals looked like a set of organ
pedals, placed on the floor at the player's feet. The typical Taurus Bass pedal sound - long
and droning, detuned, with some resonance - is represented here.
F8 - TB Bass
The Roland TB303, known for its characteristic spiky or pointed tone.

Various Synth Effects - F9 thru F16

F9 - Osc Mod 1
Type of sound achieved by modulating filter self-oscillation with another source. On
the Minimoog, ARP, and later the Prophet and Oberheim synths, the filter itself could be
driven far enough into resonance that it "whistled" or self-oscillated on its own. One
could then play discrete pitches on the keyboard using the filter alone - although the
pitches weren't exact incremental steps like a scale, nor did they behave predictably
interval-wise. But that was where the fun was. Since the third oscillator on the Minimog
could be switched to sub or low-frequency oscillation, it could modulate (affect) the selfoscillating filter. In essence, you were using the predictable waveform cycle of one
oscillator to interact with the unpredictable intervals of the filter which in self-oscillation
mode becomes a sort of "fourth oscillator". All kinds of electronic havoc could be
produced this way.
My wife, a non musician, also refers to these sounds as simply "spaceship noises", so I
guess that's a little more down-to-earth explanation of their character.
F10 - Osc Mod 2
Another sound produced in the manner described above, but with a "falling bomb
whistle" character to it.
F11 - Osc Mod 3
It sweeps up, then it sweeps back down - it's all over the place.
F12 - S&Hgenratr
Ah, the famous sample and hold generator. Like the mutant offspring of a cheap 50's
Sci-Fi soundtrack (which is where the first electronic synthesizers of any note were used),
the sample and hold seemed destined to lead a charmed life, appearing in modular synths,
disappearing with the portable lead synths like the Minimoog, reappearing later as a
waveform in modern sample-playback workstations.
The sample and hold generator "samples" an oscillator frequency, "holds" it for a brief
period of time, then releases it and takes a sample of another frequency, holds that, then
releases it, picks up another frequency, and so on. It produces a random set of tones,
therefore, since it is never sampling the same frequency twice (or at least not so often that
you'd notice it). And so is born the sound we've come to associate with R2 D2, computers
gone berserk and other science fiction stereotypes.
F13 - Syndrums This is sort of a collection of synthesized drum sounds, from the disco era Syndrums
to the Moog percussion sounds triggered by Carl Palmer's drumming on ELP's "Toccatta"
Not classic "keys" per se, but still a hallmark sound collection from that era.

F14 - Theramin Most widely recognized as the haunting lead sound heard on the Beach Boys "Good
Vibrations" (and some say that wasn't actually a Theramin at all, I have no way of
verifying this). Jimmy Page controlled a Theramin with his hands in the movie "The
Song Remains The Same". Clara Rockmore, a European woman who passed away some
time ago, was probably the world's best Theramin player. It was and is still a very
difficult instrument to play, not a keyboard, but a sort of plate mechanism between two
antennae. Don't ask me exactly how it works, I only know you wave your hands between
the antennae and something resembling music is produced. Quite lovely music at that if
you're good enough at it, although probably not for everyone.
F15 - S&Hgenrtr2 Another sample and hold generator sound.
F16 - Pro-One
The Sequential Circuits Pro-One was a monophonic synth based on the same circuitry
as the Prophet 5. The main thing it had going for it was a very cool arpeggiator.

CLASSIC POLYPHONIC SYNTHS AND KEYBOARDS G1 thru G16.

G1 - PrftT8Brss
I had a Sequential Prophet T8, and man I wish I still did. It was big, had wooden end
panels, 76 weighted keys, and was velocity sensitive. Big and beautiful. And it didn't sell
that well.
Sequential's biggest hit was the Prophet 5, the first programmable polyphonic synth
released commercially. For reasons unclear even to yours truly, the company felt it
needed a successor to the Prophet 5. And so it announced, two years before actual
delivery, that the T8 was that successor. By the time the T8 appeared in 1983, the
Yamaha DX7 had taken over and the Korg M1 was on its way. Too expensive for most
consumers, and short on ooh-aah features like reverb and delay, not to mention sample
playback, the T8 was doomed from the get-go.
It did sound awesome, however, essentially two Prophet 5's packed into a single box,
with all the Prophet features, a small-memory sequencer (I used it to play the brass theme
from "The Wild Wild West" TV show during my club-days keyboard solo) and that
wonderful velocity-sensitive wooden keyboard which was later used on he Synclavier
system as a controller keyboard.

G2 - Memorymoog
Bob Moog didn't even develop the Memorymoog. Which is probably the reason one
of my buddies, who saw it at a trade show the day before I went, called me and said,
"Moog blew it!"
It certainly had a huge, expansive sound, and was pretty much what Moog Music (by
then under new ownership and out of Bob's hands)had been hinting it would be - a
polyphonic minimoog. But it was obviously unstable, judging from the fact that when
you hit the keys the display would exhibit bad jitter or sometimes shut off completely.
And worst of all, it had no MIDI, and came out right on the eve of MIDI's introduction.
The keyboard didn't respond to velocity either. Nevertheless, it was a beautiful
instrument to look at, had a wicked cool arpeggiator, and hard sync, all of which make it
extremely useful even today.
G3 - OB8 Comp The most famous Oberheim synth sound ever is arguably the one from Van Halen's
"Jump". But Oberheim had been around quite awhile by the time Van Halen used it. The
company started making polyphonic synths very early, about the same time as Sequential
Circuits started making Prophet 5's. The first Oberheim modulars were sort of like boxes
that you connected up to make a bigger synth - very flexible, but rather tedious and
demanding on the setup and teardown end of things. The Oberheim OBX was the first of
their all-in one Polyphonic synths, later followed by the OBX-A, and then the OB8. The
OB8 and OBX-A look very similar and have the same basic (and very cool) Oberheim
sound, which is often described as more of a pure sound, not as edgy and aggressive as
the Prophet's.
This sound is typical of one that might have been used by groups like the Police for
comping and rhythm parts with a brassy tone but a closing filter envelope.
G4 - OBX Strngs
Oberheim style analog strings. You always need 'em sometime.
G5 - T8 Strings
Analog strings from the Prophet T8, different character altogether.
G6 - 1999/Crazy
This is that souped up and chorused oscillators in octaves sound that Prince used for
1999 and Let's Go Crazy. It was Oberheim, to be sure (You couldn't miss seeing the logo
in the movie Purple Rain), but there was something else added to it - compression,
chorusing, delay, who knows what all - that made it seem tall and orchestral.

G7 - JuPiTer8 A
"Tuned to a fifth" polyphonic synth sound typical of the Roland Jupiter 8 synth. Used
by groups like Duran Duran, it was quite the space-age thingie, all silver metallic with
brightly colored graphics.
It didn't have quite the razor edge of the Prophet or the purer tone of the Oberheim, and
you couldn't get the filters to self-oscillate very comfortably like you could on the
Prophet or Moog products. It's sound fit in nicely with the overall band sound, though,
and it had quite a few synth tricks up its sleeve like an arpeggiator, hard sync, and more.
G8 - JuPiTer8 B
One of those Jupter sounds with less resonance and an interesting sort of "in tune, not
in tune" quality, good for comping and dance track riffing.
G9 - Prophet 5
I remember the day I bought my Hammond B3. Or more to the point, I remember the
day after, when I walked into a music store and saw the Propet 5 for the first time. Sleek,
wooden casing, knobs and switches, a lot like the minimoog, only better looking.
And it had an organ sound, which made me question my Hammond purchase.
Weighed a lot less - hmm, what had I been thinking. Of course, nowadays I wish I had
both. At the time though, a polyphonic synthesizer with sounds that were memorized absolutely stunning.
On the whole, the Prophet's sound tends to be on the brassy side.
Even strings sound like they're half-brassed (pardon the pun). It does have a feature
called hard sync which made possible the signature sound used by the Cars' Greg Hawkes
on their hit "Let's Go" (from Candy-O). More recently this sound has shown up on songs
like No Doubt's "Just A Girl". And sad to report, the Motif, S90, or Motif Rack without
the PLG-150AN modeling card will not reproduce this kind of sound, period.
G10 - Solina
The Solina was one of the first synthesizers devoted to string sounds. Actually, that's
all it did - somewhat cheezy "string" sounds which really didn't sound too much like
strings. But it was polyphonic, cheaper than a Mellotron, and weighed a lot less as well.
It's shining moment was probably when it was used on the soundtrack for the old
"Charlie's Angels" TV show back in the 70's.
G11 - CS80
Back in the early 80's, there was a band called UK. They didn't have any hits, but oldschool keyboard players remember them for a certain synth sound used at the beginning
of their track, "Alaska". That was done on a Yamaha CS80, a classic polyphonic synth
which made its mark but was overshadowed by the Sequential and Oberheim synths. The
CS80 was big, heavy (amazingly heavy), had ONE programmable setting (you lifted up a
lid to reveal a compartment containing a "mini-panel" where you set sliders to store the
sound) and a neat ribbon controller. One basically hoped that you had a house gig for two
months or more so you wouldn't have to move it much. This sound, using portamento
with a very long time factor, also came to be part of what we now call the "THX" sound.

G12 - Polymoog
"Thanks to Bob Moog for rushing the Polymoog to Chick". That's what it says on the
back of the Return to Forever album Romantic Warrior. Today I'm not so sure Chick
would feel the same way about the Polymoog. It had a thinner sound than the minimoog,
even though it was polyphonic, due to its shared-oscillator architecture, and construction
wise it was - er, strange.
Each of the synthesizer's "voices" (oscillators, if you will) was on its own card, and the
cards were set into a chassis, like PCI cards in a computer chassis.
Trouble was, they were only secured on the insert end, and the chassis would flex when
you moved the polymoog, resulting in - missing notes when you fired up the beast for
soundcheck. A quick bang on the hood usually settled the cards back in place - usually. If
you did enough banging, it was back to the shop for service.
The sound here is typical Polymoog, with that "wiggly" sort of LFO oscillation made
famous in Gary Numan's Polymoog -propelled hit "Cars".
G13 - Mellotron1
It wouldn't be a classic keys collection without some Mellotron voices.
The Mellotron was probably the world's first sample-playback "synth". Sounds were
generated from recorded reels of tape. The recordings were of actual instruments, and
when you pressed a key, one of the reels would start its spoolout. However, the Mellotron
had a curious quirk - tape playback lasted about 8 seconds, then the tape would stop and
rewind. So the trick became to try and play successive new notes just as previous notes
were nearing the end of their "8-second run". That behavior is imitated here as well - hold
down a chord, after 8 seconds or so it will cut out.
Recording playback was a generous 2-bits (not 16 or 24 bits) and generally the
Mellotron sounds pretty bad but in a hip way. Distorted, grainy, low fidelity, screeching,
whining, gear grinding - yes, I'll take some of that for my next hip-hop track. And oh yes,
most people used it for strings, choirs, and the occasional flute sound, although the
Mellotron libraries were actually quite extensive and featured dozens of different sounds
and instruments.
G14 - Mellotron2
Variation of Mellotron string sound.
G15 - Tron Vox
Mellotron choir sound.
G16 - TronFlutes
The classic Mellotron flute sound from the Beatles "Strawberry Fields Forever".

Greatest Hits of Vintage Keys - H1 thru H16

H1 - Tom Sawyer
That deep, resonant sweeping bass sound from Rush's hit song "Tom Sawyer".
H2 - Jump
As said before, probably the best known hard-rock synth sound of all time. Originally
done on an Oberheim OBX-A, Eddie Van Halen at the controls.
H3 - BabaORiley
From the Who song "Baba O'Riley" on their Who's Next album. Most people think the
song is called "Teenage Wasteland." At any rate, the song is in the key of F. To play the
sound properly, arpeggiate F1, C2 and F2 in the left hand, in time to the LFO rhythm, and
trill on C4,D4, E4 and F4 in the right hand.
H4 - GetFooled
The triggered organ sound from the Who's "Won't Get Fooled Again". It's not really a
synth sound, but it was originally a Lowrey organ triggered by a VCS3 Putney synth, so
technically it's still in the running. The song is in the key of A.
H5 - WelcomeBak
The famous synth sound that opens Emerson Lake and Palmer's "Karn Evil 9 First
Impression - Part 2" on their Brain Salad Surgery album. Most people refer to this song
as "Welcome Back My Friends To The Show That Never Ends". This sound is a good
example of sample and hold modulating the filter. Yes, the song is in A flat, which of
course required Keith to play all his amazing stuff on the BLACK keys - an incredible
feat.
H6 - Journey JP
Jonathan Cain's Jupiter 8 sound for Journey's hit song "Separate Ways". Key of E.
H7 - Totohorns
The synth horn sound from Toto's monster hit, "Africa". (Toto IV CD).
H8 - Frnknstein
The modulated filter sweep sound from the Edgar Winter Group hit "Frankenstein".
As the filter closes down, use the mod wheel to animate it, opening and closing it again
rhythmically, to imitate what's going on on the original song.
H9- ProphetUFO
"Spaceship landing" sound which is similar to the one that opens Styx's hit song "Too
Much Time On My Hands". That was probably done on an Oberheim, but the Prophet 5
was capable of producing this sound as well.

H10 - RingMod 1
Ring-modulated, bell-like or chime tones. Easily produced on a Prophet or Oberheim
synth.
H11 - RingMod 2
Ringmod chimes, lower pitched, with LFO modulation.
H12 - RingMod3
Low pitched ring mod tones without LFO modulation.
H13 - PinkFloyd1
The droning, sequenced bass line from Pink Floyd's "On The Run/Time" on their
Dark Side of the Moon album.
H14 - PinkFloyd2
The synthesized helicopter sound from the same tune.
H15 - ClkwrkOrng
Theme from Stanley Kubrick's film A Clockwork Orange, which featured music
composed by renowned synthesist Wendy Carlos.
H16 - A440
And so we come to the final voice in this set. After much head scratching over what to
finish things off with, in good humor it was decided that the A-440 tuning oscillator
sound from the old Minimoog would be appropriate. Use this sound when the guitar
player in your band needs an "A" note (for your sake, we've also included a lower E, a D,
and a G).